Bureau Doove - creative consultancy

Meet Hantu – Saturday 4 April 5pm

On the occasion of the current online exhibition by Hantu, I will be interviewing the French duo on their work discussing amongst others the role of performance, collaboration and photography. The interview will be in French and English, interspersed with a series of mini performances by Hantu, showcasing new work.

Please join us this Saturday 4 April at 5pm CET via Zoom. Contact me for the details via the contact form mentioning Hantu.

Feel free to bring you own drinks 😉


Hantu, Mask to Stay in Touch, 2020

Archive – Desiree Palmen at Parbleu

Another trip down memory lane in order to reconstruct the archive of the exhibitions I made since 1987. In autumn 1992 I invited Dutch artist Desiree Palmen to exhibit at Parbleu. She had studied at the Jan Van Eyck academy in Maastricht with Guillaume Bijl and Henk Visch and had had a first solo exhibition at Kabinett – Aachener Kunstverein in 1989.

Palmen showed a combination of sculptures and large scale drawings on blackboard. The exhibition ran from 17 September until 10 October 1992. Find the dedicated page here.

Please note: I am trying to find photos made during this and other exhibitions I curated as most of my own material is lost – please contact me if you have anything that I could add to the archive. Thank you.


Photo by Stefan Dewickere
Featured image invitation card for the exhibition, Robert Owen’s School for Children, view https://www.newlanark.org/introducing-robert-owen

Spot #3 – Confinage Galerie

Lucky to have some very talented students who take initiative. The Confinage Galerie was set up the 16th of March, the day that obligatory confinement was announced and our art school, ESADHaR Le Havre/Rouen, closed for the unforeseeable future. Since then Lucas Cyrille and friends have organised new exhibitions every evening in the confinement of his appartment. Cyrille realises the exhibitions all himself by following the protocol that is send by artists who want to participate. The ‘vernissages’ take place every evening between 6 and 7pm via their instagram account. A beautiful example of both thinking inside and outside the box.

Find a selection of the exhibitions below and follow this great initiative on https://www.instagram.com/confinage.galerie/

Lucas Cyrille
Julie Canu
Atelier McClane

Expo #1 – Hantu

While I’ve always regarded this website as a virtual gallery, for a while I also wanted to dedicate a specific place to online exhibitions for affiliated artists. In Spring 2020 this idea got a very symbolic meaning. The order in which these exhibitions are made is relatively random, dependent on the order in which the artists responded to my call for propositions. They can also be seen as virtual exercises for physical exhibitions.

The first exhibition is thus dedicated to the work of Hantu, a French duo consisting of Jean Delsaux and Pascale Weber. Find their dedicated exhibition space here.

Image: Hantu, Kegaska, Canada, 2015

Archive – Nicoline van Stapele at Parbleu

In spring 1992 I invited the Dutch artist Nicoline van Stapele, living in Gent, to show in Parbleu, Antwerp. Her show partly coincided with a show at the Galery ‘VUB in Brussels so we made a combined invite.

Asked if she could say something about the show 28 years later the artist sent the following text:

The works shown here are made in black sheets of rubber that are attached to the wall with nails, as you would do with a coat on a rack. As if you would want to get rid of your skin and renew yourself. The works are each made of a repetition of parts from another series of black strips. Everything points to music and dance, light-hearted, while the material is isolating black rubber and doesn’t want to be known.

Nicoline Van Stapele, March 2020

Find the page dedicated to her exhibition Nicoline van Stapele here

Please note: I am trying to find photos made during this and other exhibitions I curated as most of my own material is lost – please contact me if you have anything that I could add to the archive. Thank you.

Jean-Louis Vincendeau – Soleil pistache

In today’s post Jean-Louis Vincendeau proposes a geometrical abstract image with a certain sensitive vibration. Inspired by Mendelsohn’s oratorio Elias of which you can find the version by Philippe Herreweghe and La Chapelle Royale here.

Soleil pistache

Soleil pistache,
Elias et les fantômes

De minces trouées d’air et de paroles muettes, flaques impalpables. Exigence dans l’air bleuté du jour courbé, dormant sur le dos.

Des lumières, des pensées viennent s’installer dans ce lieu carré, des âmes peut-être, arrivant de leurs propres initiatives, pas encore de récit, le début d’une broderie innocente, vertueuse.

Soleil, prunelle, clématite, tout cela autour d’un rien, d’un souffle clair de passage sur la terre droite et obscure.

Mendelssohn en musique limpide, monnaie du moment glissant sur les cimes, donnée par un ange bavard et plutôt bien dans son monde.


Pistachio sun, 
Elias and the Ghosts

Thin holes of air and mute words, impalpable puddles. Requirement in the bluish air of the day curved, sleeping on the back.

Lights, thoughts come to settle in this square place, souls perhaps, coming on their own initiatives, not yet narrative, the beginning of an innocent, virtuous embroidery.

Sun, eye, clematis, all around a nothing, a clear breath of passage on the straight and dark earth.

Mendelssohn in crystal clear music, currency of the moment slipping on the peaks, given by a talkative angel and rather well in his world.

Translation Edith Doove 2020

Archive – Marc Schepers at Parbleu



In the summer of 1991 I invited Marc Schepers, artist and owner with Leen Derks of Ruimte Morguen, to exhibit at my former exhibition space Parbleu in Antwerp. It’s seemingly only by chance that his exhibition is the first in this series on my attempt to construct/restructure the extensive archive of my exhibitions over the last 33 years. The subject and images of the exhibition have however an eerie resonance with the current times through their reflection on the type of the hermit and the empty space of the gallery in which only the light changes.

Find the page dedicated to his exhibition Element a, or a ‘Temptation of Saint Anthony’ here

I am trying to find photos made during this and other exhibitions I curated as most of my own material is lost – please contact me if you have anything that I could add to the archive. Thank you.

SPOT #2 – Point of Interest

The exhibition Point of Interest, organsied by Agathe Schneider on invitation by Tristan Abarnou, was meant to last ten days, but due to the current crisis it had to close almost immediately after the opening on Wednesday 11 March. Now it miraculously resurfaces in a digital form where it can last a lot longer.

Floor plan

Eight artists, current and former students of ESADHaR, developed this exhibition for the Lavoisier building of the university campus of Mont-Saint-Aignan, Rouen. The result was an ephemeral take on a very specific space with a lot of passage and a particular architecture. Suffering from degradations such as water leaks, as well as wear on walls and floors, these became points of reflection, or points of interest.

The exhibition is the result of the wish to create a lasting link between the University of Rouen-Normandie and ESADHaR, a persistent relation between the master students of Cultural Projects Management and the Student Office of ESADHaR.

The artists included are Joseph Baudart, Emma Genty, Fleur Leclère, Si Liu, Thomas Maestro, David Mendy, Tom Sagit and Agathe Schneider. You can find their contribution by clicking on their names which will lead you to their own page.

The original floor plan and key to the works can be found above and below.



Le film sans fin – La jetée

Ollivier Moreels presents the latest edition of Le film sans fin, an ongoing collaboration with artists, poets and musicians, in this case with Paul Leo Figerou for the performance,
Sigurlaug Didda Jónsdóttir for the poems and Arturo Gervasoni for the music. Jean-Louis Vincendeau has written as usual an accompanying poetic text which you can find below in the English translation and the original French version. La jetée can be seen here.

The filmed poems shown here are part of a set of four, visible in article 79 of the Film sans fin.

On the menacing and icy pier

The capricious veil unfolds immediately with the wind, far beyond what could be expected, signature of the furiously dishevelled kiss itself; an unusual dance then engages on a slippery ground of weathered, washed-out stones. A risky dance, marked by squalls and roaring waves; a melee with the elements which does not bode well about who will get away with it.

Like a character painted by Caspar David Friedrich, a fearless character approaching the sublime in view of the unleashed nature; his improvised performance embodies this desire for surpassing, this movement of the soul that initiates a “let’s go” even if we are not sure in advance of the destination.

Through his garment and his movements, he realizes a living sculpture at the highlights of his presence to the extremes. The struggle against the elements is also a dance, an imbalance constantly resumed, a dismay of the whole being, the boldness of being truly present in the immediate absolute, with and in this force of propulsion towards the light and for life.

The cameraman also suffers from the bad weather, he participates in the dance and wrestles under the same conditions; he follows and precedes the movements, the variations and the confusion that he captures, unfolds and deploys his images in rigour and clarity.

We encountered this incarnate spirit a first time, with this same veil, in meadows flooded to the horizon by a twilight of the apocalypse; its drift of pure solitary essence thus led it to the Ocean and to this menacing and icy pier.

One moment the figure disappears, black body in black water, and, right after, a tongue of white foam slowly comes to die on the strike.

Jean-Louis Vincendeau

Sur la jetée menaçante et glacée

Le voile capricieux se déploie immédiatement avec le vent, bien au-delà de ce qu’on pouvait attendre, signature de la bise elle-même furieusement décoiffée ; une danse insolite s’engage alors sur un sol glissant de pierres patinées, lessivées. Soit une danse risquée, marquée par les bourrasques et les vagues rugissantes ; un corps à corps avec les éléments qui ne présage pas de qui s’en sortira.

Tel un personnage peint par Caspar David Friedrich, intrépide personnage approchant le sublime devant la nature déchainée ; dans sa prestation improvisée incarne ce désir de surpassement, ce mouvement de l’âme qui fait « qu’on y va » même si l’on est pas sûr à l’avance de la destination.

Par son accoutrement et ses mouvements, il réalise une sculpture vivante aux moments forts de sa présence aux extrêmes. La lutte contre les éléments est aussi une danse, un déséquilibre sans cesse repris, un désarroi de l’être entier, la hardiesse d’être vraiment présent dans l’absolu immédiat, avec et dans cette force de propulsion vers la lumière et pour la vie.

Le cadreur subit également les intempéries, il participe à la danse, à la lutte dans les mêmes conditions ; il suit et précède les mouvements, les variations, la confusion qu’il capte, déplie, déploie ses images en rigueur et limpidité.

On a rencontré cet esprit incarné une première fois, avec ce même voile, dans des prairies inondées jusqu’à l’horizon par un crépuscule d’apocalypse ; sa dérive de pure essence solitaire l’a ainsi conduit jusqu’à l’Océan et jusqu’à cette jetée menaçante et glacée.

Un moment la silhouette disparaît, corps noir dans l’eau noire, et, juste après, une langue d’écume blanche vient lentement mourir sur la grève.

Jean-Louis Vincendeau

Jean-Louis Vincendeau – Three houses

During the upcoming weeks Bureau Doove will regularly publish the poetic images and thoughts of Jean-Louis Vincendeau.

3 maisons web

Three houses

And what do these three little white houses do on a red branch or on the side of a hill? They are joined and clenched against each other; houses of very thin expectations oriented towards the light as far as they can.

Maybe a few carefree paper mice dance in the three attics? Below, white bouquets on the tables enlighten the discreet embrasures.

Fragile image in view of the violence of this world, in this bluish mist of memory, it advances discreetly towards this thing coming from the spirit that flinches and regains its momentum.

Trois maisons (original version)

Et que font ces trois petites maisons blanches sur une branche rouge ou sur le flanc d’une colline ? Elles sont jointes et se serrent l’une contre l’autre ; maisons d’attentes très minces orientées vers la lumière comme elles peuvent.

Peut-être que quelques souris de papier insouciantes dansent dans les trois greniers ? Plus bas, de blancs bouquets sur les tables éclairent les discrètes embrasures.

Image fragile devant la violence de ce monde, dans cette brume bleutée de la mémoire, elle avance à pas de loup cette chose venue de l’esprit qui flanche et reprend son élan.